Author: Peter Podbrežnik
Artist: Windchase
Label: Musea
Release: 1977
Running time: 57:41
Rating: 3.5/5
»Symphinity« was actually the third studio album from Australian symphonic prog rock stalwarts Sebastian Hardie, but thanks to a pretty daft court ruling the band had to release it under the name Windchase, i.e. after the title of their second studio effort. The court awarded the rights to the Sebastian Hardie name to a former member, bassist Peter Plavsic, who left the band in 1976 to join rock ‘n’ roll revivalists The Studs together with his brother, drummer Alex. Guitar virtuoso/vocalist Mario Millo and keyboardist Toivo Pilt had no intention of throwing in the towel, so under the Windchase name they went hunting for a new rhythm section.
In drummer Doug Bligh (ex-Galadriel) and bassist Duncan McGuire (ex-Ayers Rock) they found an even better rhythmic backbone than the moody Plavsic brothers, yet »Symphinity« was still a complete stylistic continuation of the previous Sebastian Hardie album »Windchase«, with the important difference that amid the lavish symphonic arrangements you could find a few more jazz rock fusion elements. The influence of the British prog scene, led by Camel, Yes, ELP, Genesis, Pink Floyd and ELO, shows up in most of the arrangements across the individual compositions, and the best of those are the ones written by Millo, who later became a respected composer for Australian film productions.
The instrumental »Forward We Ride« is a short piano overture by Pilt to the ambitious epic »Horsemen to Symphinity«, the central, defining piece of this stylistically pretty varied album. »Horsemen to Symphinity« will instantly remind plenty of listeners of classic Camel from the opening bars and the mighty swells of guitar-and-organ harmonies, while the jazzy rhythmic touches keep this symphonic epic lively from start to finish. Millo’s vocals, modeled on John Wetton (Asia, ex-King Crimson), nicely hold together the melodic structure of the piece, while his mellifluous guitar improvisations are a real treat for the ears.
On »Glad to Be Alive«, where mighty orchestral arrangements reign, Windchase show up in a somewhat more commercial light, and they don’t even try to hide the obvious ELO influence in this experiment. The vocal harmonies, especially in the chorus, are superbly done, and the same goes for the nostalgic, pompous orchestral arrangements, even though the positivist lyrics come off a little naive at times. The bluesy guitar tune that kicks in with the first transition instantly recalls classic Yes, or something Steve Howe could have dreamed up, while the ‘nursery-rhyme’ jolly section comes off as pretentious as can be.
One of Australia’s finest guitar masters really shines with his poignant improvisations on the melancholic, Mellotron-tinged instrumental »Gypsy«, where Santana’s influence is impossible to miss. »No Scruples«, a sort of prototype of what Asia would demonstrate in a far more polished form four years later, features fun organ variations and mighty Mellotron curtains. This odd symphonic prog/proto-AOR hybrid, with Yes influences cropping up in places too, contains a complex instrumental section with organ and guitar improvisations.
The nearly 10-minute jazz-fusion treat »Lamb’s Fry« is, in terms of prog arranging and rhythmic daring, definitely the most polished (and therefore the best) creation on »Symphinity«, even though the psychedelic intro with sizzling eggs and bleating sheep will remind anyone of Pink Floyd in a heartbeat. The bravura rhythmic escapades and percussive variety here are a bit reminiscent of the established practice of the British fusion outfits of the day, Pierre Moerlen’s Gong and Brand X, while the electric guitar and keyboard improvisations are a veritable balm for all jazz fusion gourmets. »Non Siamo Perfetti« is a short neoclassical acoustic guitar solo from a guitar virtuoso of Italian descent, the kind Steve Hackett (ex-Genesis) would probably have loved too. The closing »Flight Call« is a markedly commercial, above all uninspired effort that sounds less like symphonic progressive rock and more like the soundtrack to some seventies romantic weepie, which makes it the most forgettable piece on the album. The CD version of »Symphinity« also includes, as a bonus, a live, extended version of »Horsemen to Symphinity« from 1998.
»Symphinity« was a solid (temporary) end to the creative run of probably the best-known Australian prog rock band, even though it came out under the name Windchase rather than Sebastian Hardie (as it by rights should have). The main problem for Windchase, a.k.a. Sebastian Hardie, was that with »Symphinity« they didn’t create anything particularly new or exciting that their European symphonic prog peers hadn’t already done at least as well or better, even though certain tracks were brilliantly played from both a technical and an atmospheric standpoint, and the Millo-Pilt songwriting duo had truly exceptional potential, by Australian standards, for ‘great feats’.
Lineup
Mario Millo – vocals, guitar, mandolin
Toivo Pilt – keyboards, backing vocals
Doug Bligh – drums, percussion, backing vocals
Duncan MgGuire – bass guitar
Production
Gerry Stevens and Windchase
Track list
1. Forward We Ride (1:39)
2. Horsemen to Symphinity (8:33)
3. Glad to be Alive (8:06)
4. Gypsy (4:47)
5. No Scruples (6:29)
6. Lamb’s Fry (9:39)
7. Non Siamo Perfetti (1:57)
8. Flight Call (4:36)
Bonus track:
9. Horsemen To Symphinity (live performance – Mario Millo & Men From Mars 1998) (11:55)
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